Humans are inherited attracted to dark stuff. We can help but love to be terrified, spooked or in the most extreme situations grossed out. This is why we go to rollercoasters, attend “supernatural” guiding tours or enjoy a good horror movie in a dark room. What is most interesting is our fascination with villains and to some extend, the madness which besets serial killers. Cinema has been the go-to place for presenting extreme versions of antagonistic individuals who cherish the pain of others - whether they are victims of nature or nurture, a limited number of films sought to explore let alone answer that question. Most opt to just have a demented story at their core unable to escape from the confinements of the subgenre they are attached to. Yet, a small and elite groups of movies have managed to linger in our memory just because they treat the subject material with dignity, intelligence and panache.

10. The Silence of the Lambs (1991)

The quintessential serial killer flick that started the trend of shading demented and perverted antagonists as complex monsters as opposed to one-sided obstacles for heroes to overcome. Based on the Thomas Harris’ book, “The Silence of the Lambs” became infamous for several reasons: it features one of the shortest award winning male lead roles in history (Hopkins for 16 minutes of screentime); it is the only horror film (so far) to win the best picture accolade and there is an unusual dynamic relationship between a competent female hero and a highly intelligent villain. Any idiotic accusations of wokeness give the movie’s myth extra dimensions because it remains an exceptional cat and mouse game supported by three dimensional characters and an atmosphere of dread which hundreds of others tried to replicate. The killings are never shown but it is the aftermath (and the potential motive behind them) that triggers nightmares. Coupled with Howard Shore’s ominous score, “The Silence of the Lambs” is an acting triumph mostly for Foster and less for Hopkins who although dominated the promotional material does go a bit OTT by today’s standards under delightful though dialogue.

Best moment: Clarice meet Hannibal. Hannibal meet Clarice.

9. Zodiac (2007)

The first of his two entries in this list, David Fincher’s return to the serial killer genre with “Zodiac” was to say at least, mesmerizing. For some strange reason this true story (which makes the film even more chilling) about the Zodiac killer terrorizing the city of San Francisco makes impeccable use of its 70s setting with cleverly integrated and unnoticeable special effects. Fincher and writer James Vanderbilt establish a story around the most cryptic killer of all time through a journalistic point of view, the leads being as confused as we are. Survivors of the Zodiac’s attacks give the narrative a sense of aethereal nature as there are no sketches or some sort of visual clue that could hint his identity and Fincher does not resort in insulting to the audience’s intelligence theatrical shenanigans. The hypnotic cinematography of the Greek Harry Savides, the strong performances (especially by a pre-Iron Man Robert Downey Jr) and Fincher’s eye for meticulous detail make this captivating and slow burning mystery-thriller of 157 minutes a breeze to sit through.

Best moment: The Zodiac attacks with casual behavior like a walk in the park.

8. The Chaser (2008)

Before Na Hong-jin conceived “The Wailing” (2016), he sharpened his claws in “The Chaser”, an action thriller with a you-guessed-it, serial killer. The film begins fairly conventional and seems like any other direct to video flick. As we already know the killer’s identity, the movie slowly progresses to something more brutal and visceral utilizing an ironic sense in its outcomes and thus, becoming more original. Boasting the typical socio-economic commentary that so many Korean productions push forward, “The Chaser” never sidetracks the audience aiming for the jugular. Relentless, it does not pull any punches both in the characterization of its antagonist (Ha Jung-woo giving the performance of a lifetime as an absolute bastard from hell) who does not behave as you have expected and the morally ambiguous (for Western standards) protagonist (Kim Yoon-seok also excellent). It hits all the right buttons in scenes of excruciating suspense (its infamous foot chase is one for the ages) featuring accurate portrayals of emotionally distant individuals and a sense of the inevitable, a motion picture that only the minds of Koreans can come up with. A must.

Best moment: A daring escape will have you at the edge of your seat.

7. Longlegs (2024)

As a victim of one of the cleverest marketing campaigns ever, Oz Perkins’ “Longlegs” revitalizes the declining horror genre with tremendous gusto. American cinema has been steadily sinking when it comes to killer related storylines; most focused on producing several “Lambs” clones or emphasizing too much on “Saw” (2004-2025) like gore heavy antics performed by one note villains. Not “Longlegs” though. What could have been another Nic Cage almost direct to video output, is a fascinating take on the subgenre. Paying several homages to “Lambs” under a satanic twist gives the proceedings a fresh sense of disorientation and invisible rot that has not been in US productions since the likes of “Seven”. A jigsaw of a plot throws visual hints left and right until the inevitable climax will have everyone second guessing its outcome. Shining away from violence glorification although its short depiction is on point “Longlegs” places more emphasis on horror courtesy of Cage’s titular killer. Under brilliant cinematography and a hair raising score, Cage delivers a masterclass in acting by making a tremendously unhinged person capable of evil without even showing it. Now that is an accomplishment.

Best moment: Killer and hero come face to face.

6. Seven (1995)

“Lambs” was hard to top (at least for US standards) and yet Andrew Kevin Walker’s script demonstrated that when there is a will, there is always a way. David Fincher’s follow up film after the disaster of “Alien 3” (1992) revealed a unique and uncompromising directional talent. His videoclip aesthetics were used effectively to bring to life Walker’s sublime script about a killer who murders people based on the seven deadly sins. Focusing more on an atmosphere of dread and decay in a(n unnamed) city where rain never stops, “Seven” is more interested in the psychological aspects of such crimes and less in violent outbursts. Boasting a sensational visual style (courtesy by Film Mining 101 favorite Darius Khondji) and a story of several plot twists, “Seven” might be light in the scare department but remains remarkably heavy on its exploration of the human psyche. The macabre murder scenes are now iconic resembling live action renaissance paintings with make up effects by the legendary Rob Bottin (“The Thing” (1982)). Brad Pitt’s breakout role might have taken most of the coverage but the real strength is Morgan Freeman’s stoicism who has to endure all this almost supernatural crap.

Best moment: The sloth victim remains the stuff of nightmares.

5. Memories of Murder (2003)

Before “The Chaser”, the equally disturbing but more nuanced “Memories of Murder” existed. This too is based on real events around South Korea’s first serial killer (and rapist) who was never caught (till way later) due to the incompetency of the local law enforcement and the lack of experience in dealing with such a disturbing crime spree. Genre chameleon Bong Joon-ho directs the Korean countryside as a hellish playground whose fire and stone has been substituted by rain and fog, environmental elements that masquerade the actions of a sick and perverted individual against women. Featuring his trademark (and sharp) political commentary for the state of his country and fellow citizens, “Memories” embarks on a personal odyssey between two polar opposite detectives who blur the lines of what is a lawful action. The absence of of evidence and a person of interest are the catalysts for constitutes a memory of murder. Showcasing how such horrific crimes can take a toll on those who aim to solve them, “Memories of Murder” highlights the way unseen men can become monsters avoiding to shy away from uncomfortable questions on morality.

Best moment: Rain, a woman alone and a figure hidden in the field.

4. Scream (1996)

In every generation, there is always a defining horror film and for the 90s it was the brainchild of screenwriter Kevin Williamson and director Wes Craven. “Scream” changed the rules of the slasher genre poking fun at itself while taking apart existing conventions on a dead-in-the-water horror scene. Craven imbeds a sense of menace on suburban houses converting simple phone calls (Roger T. Jackson should have taken an award for his work) into instruments of psychological torture; the tremendous opening scene builds up the tension in such extraordinary degree that catapulted the movie into pop culture while Marco Beltrami’s game changer score becoming synonymous with the musical identity of the film. Its whodunit mystery culminates in a 40 minute suspicion shifting climax while the Ghostface mask has remained iconic. It would not work if the cast and characters were lame: Never Campbell makes for a terrific heroine bringing real vulnerability and ferocity to what could have been a typical damsel in distress role and any dispatched individuals are treated with dignity and respect as opposed to qualified meat bags.

Best moment: “What your favorite scary movie?”

3. Halloween (1978)

The grandaddy of slashers and one of the most influential horror films of all time, “Halloween” created the stalk-and-slash formula under remarkable restraint in gory violence and gratuitous nudity. John Carpenter’s ultra low budget movie accompanied by a simple, highly effective and utterly memorable piano and synth based score featured meticulous steadycam shots that capture Michael Myers’ specter like movements in the suburban US. For the get go in a shocking POV shot, Haddonfield becomes Myer’s playground to kill random citizens. However, the lack of motive, speech or thought process make him a terrifying and visually compelling villain; his slow mannerisms and heavy breathing indicate that perhaps the boogeyman is real and wears a William Shatner mask. Scream queen Jamie Lee Curtis finds herself into an unforeseen nightmare within the safety of her boring town giving birth to iconic and laconic production wise scenes. The kills might look tame and the acting of the younger stars iffy by today’s standards but Carpenter keeps the proceedings strict and tight with superb jump scares crafting the ultimate movie for Samhain.

Best moment: The POV opening shot - ground breaking, effective and intriguing setting up the characterization of future adult Michael Meyers.

2. The Cell (2000)

Disregarded as a slick “Silence of the Lambs” clone during its release, time has been very kind to Tarsem’s directional debut. “The Cell” might be light on substance dancing around interesting ideas about nurture vs nature that unfortunately do not get explored at all, but it is heavy on style. Putting Jennifer Lopez as your main psychoanalyst lead won’t win any acting accolades but at least her performance does not distract from watching the entire history of art unfolding in front of your eyes. The device of using the antagonist’s mind as the source of fascinating and surrealistic landscapes to explore his psychotic personality is a clever one. Tarsem directs manically the overwhelming production and costume design which take inspiration from any art form your can think of (e.g., anti-stuckism, postmodernism, kitsch, renaissance, early netherlandish) but he never forgets to craft tense and memorable moments while Vincent D’Onofrio is an ideal choice for the towering but troubled serial killer under multiple costume and make up changes. See this in a big screen.

Best moment: Jennifer Lopez’s Catherine meets King Stargher for the first time.

1. I Saw the Devil (2010)

Kim Jee-woon’s bleak exercise in nihilism manages to make all the previous entries in this list look like school plays in comparison. Featuring the most accurate portrayal of psychopathy, this Korean flick is not for the faint hearted. The amount of violence (both physical and sexual) is overwhelming and raw. The film will rip out your heart and crash it to pieces. Veering towards more the revenge-action-thriller category, this vicious face off between a capable NIS agent against a human devil is not going to end the way you think. Centered around two incredible performances from Lee Byung-hun and Choi Sok-mik amidst clever and nasty action sequences, Jee-woon shows Korea as a place where all sorts of scum pray on men and women alike; isolation means death. Asking questions about the true extent of a monster’s nature, it is a very hard watch but one that will left you wondering the various what ifs. Its stunning cinematography, skillful directional effects (e.g., a 360 spin inside a car is incredible) and melancholic soundtrack only make it the best serial killer flick out there. A must watch.

Best moment: The unmatched brutality and hypnotic beauty of the opening scene.